Words For Sister`s Wedding Card

not update new in independent publishing hoax Chimera

We
faithful to our calling to protect and promote that-much-that they value independent editions. Here are some developments that I found of interest.

Nikolai Gogol Why fought the two Ivans, Attic Books, Barcelona, \u200b\u200b2010, translated by Diana Petrova.

We are not facing one of the major works of Gogol, Taras Bulba as or Dead Souls, but it is not necessary. The description of an endless fight between friends in the area of \u200b\u200ba Russian town of the late nineteenth century (which at times reminiscent of the dispute Grief Joseph Conrad) carried out in this nouvelle has several settings which make it desirable. One of them is the terrible irony that Gogol made the description of customs, half rural, half urban dwellers, residents of Mirgorod. Another is its psychological insight regarding the need for social status of the characters, which reveals the darkness that the author tries to dispel the beginning of the play, but dropped in the last and famous phrase in this story. Afea to issue a typo, as impolorar "(p. 75), but the important thing is the recovery of this popular

through the excellent translation by Diana Petrova.


Pierre Michon, Abbots ; Alfabia, Barcelona, \u200b\u200b2010 .

I'm addicted to minimal prose and microscopic Pierre Michon, probably because it looks like nobody but himself and has a small narrative world, characteristic and non exchangeable. I read his books with amazement, not much or not only care for the exquisite prose, well reproduced in this version of Nicolás Valencia Campuzano, but by the unique microcosm of the author, who enjoys the historical narrative, or rather micro-historical, with small and inconsequential plots located in rural environments of the Middle Ages, filled of forests, castles, queens, horses, streams and plant all sorts of variations. Nothing to do with Ivanhoe, summoning uninitiated, quite the opposite. There is here as there was in winter Mythologies (Alfabia, 2009) stereotypes medieval romances or love stories with lurid ladies perched on towers or speared and lanceolate lovers. What's in Abbots are small localized situations in ancient chronology, where the characters suffer similar woes to ours, lived with a credible historical setting and a serene and memorable narrative precision. Abad's narrator is

shows its to the chronic fatigue Pierre (pen name of Petrus Malleacensis ) saved the recovered period (p. 80) and launches into its creation, recreation, the rescue of human stroke often medieval testimonies forget, censure or reproach. It is there in that miraculous reconstruction of the small, we find the grandeur of Michon. Michon is an unparalleled author, unclassifiable, not for thrill-hungry readers or fast, holder of a world that only tend to share that strange group of conspirators known as Pierre Michon readers.



Krmpotic Milo, Three bullets Boris Bardin, Trojan Horse, Madrid, 2010.
Black, dense, well located in Argentina, somewhat misanthropic, quite hopeless, brilliant in how he says what he says and how to hide what he is silent, this novel Krmpotic Milo reveals several things: first, that the author likes to repeat, as The three bullets Bardin Boris has nothing whatsoever to do with sip my sex. The lives of Paul Boissel (Caballo de Troya, 2005), the previous author's narrative work, built as a false biography absent a fun character, the cook Paul Boissel (at number 322, counterfeit Chimera wrote a crazy then this book appeared in France). The second truth

get confronted reading these two works is that Krmpotic is capable of doing something that does not always get those who hate repeating: his mastery of the technique is so capable of leaving the precious prose of sorbed my sex and embark on a hard style, stripped, realistic and powerfully accurate, aimed at letting the story slip walls. This does not mean that there is no style, but is hidden to perfection, appearing in low and vibrant now, to avoid obstructing the development of a raw and bitter history, little friend of preciousness unnecessary. They do not entertain more, read everything you can from Croatian / English / Argentine Krmpotic Milo, in the order you wish, and always find things they were looking.



Eduardo Moga, Under the skin, on ; Calambur, Madrid, 2010

While reading this unclassifiable book shows his pathetic (in the sense of persecution pathos and, occasionally, in the other way) feeling that the author is in a cul de sac existential to which writing is not only salvation, but part of the problem. The question is to what extent this feeling responds or not a planned purpose Eduardo Moga. Having abandoned writing in verse, after noting that neither itself nor the alien gives you the satisfaction, the author takes refuge in poetry in prose with n terrible sensation of having nothing to say (which is not same, as you pointed Octavio Paz in The Bow and the Lyre mesh talking say nothing.) His anguish takes the reader on the front pages, deliberately jammed the inability to speak, on the difficulties of finding a valid deed, on which also incorporated even in case of successive corrections later included in parentheses. The text is shaped like a patchwork stratigraphic layers of superimposed images, where the journey of the scriptural act feeds, turning on itself, creating a deliberate exhaustion, a maze with no exit that literally translates the same maze in which vital appears to be the author. We speak with the freedom of the purposes of copyright because there is no rift whatsoever, no autofiction; is significant criticism about Gil de Viedma at some point in the book. Moga speaks freely about each other even in moments that only John Updike and some dirty realists were inoculated in the literature: thus, the writer includes a self defecating and verse, for example. The alleged antipoetic and high eschatological meditation and the fine points are presented together intellectual and indistinct, as in existence (we infer), where you can be reading Virgil in the cup. The result of this process of demystification is suggestive poetic, although at times there are falls, naturally, in others the brutal crushing of the ordinary in the light of the poetic imagination lets us pages, details, thoughts and memorable moments. Moga has always seemed one of those hidden good poets abound in Spain and are overshadowed by more famous and many less deserving. Hopefully this book will help give the author's unique and exotic place I think it deserves in the tastes of readers.



Ludwig Hohl, Camino night, Tiny, Barcelona, \u200b\u200b2010 .

Despite the repeated admonitions of Alan Sokal, partly by choice and partly because like, I still read scientific texts for its high metaphorical or symbolic, depending on case. A Facebook friend brings me to the mathematical theory of graphs, where after getting lost in articles on the Kruskal algorithms do not understand a single word, finding out Jewel: The Way of Hamilton. Seginer the wise Wikipedia, "we also speak of Hamiltonian path if not imposed return to the starting point, like a museum with a single door. For example, a horse can go all the boxes a chess board without passing twice for the same: it is a Hamiltonian path. " The Way night of Hohl is something, a Hamiltonian and amazing collection of stories that does not pass twice by the same idea and enjoys the diversity even in repetition. Hohl, whose genius and we were informed by the nuances and details translated by Ibon Zubiaur and even recommended in the bottom left of this page displays simple oxymoronic, implodes and compresses multiple leaks in these stories where the human is exposed without mercy or display, without harshness or syrup, in a pure state of drift of things. Metaliterature slight touches, like the amazing images of a man who swings like algae on the seabed, misanthropy house mark ("for you is easy to say 'the other' No other !", P. 51), relentless psychological insight, make up the unique world of an author was not granted never, fortunately, the right to the facility.




André Gide, Paludes , Alba, Madrid, 2003, translated by Cecilia Yepes.

Of the various acute and autofefiniciones of Paludes included within the work itself, none seems more amazing than the one in which Gide said it is "the story of the third person, that from that speech that lives in each one, and that does not die with us "(p. 54). Perhaps it has been widely used image nothing book on Flaubert wrote in his correspondence, but I had never used until now, because today I have not seen any book like Paludes where the definition fits so perfectly. Gide knew I do not know whether or not the letters of Flaubert "Sure, Gide is one of the authors are more aware and self-conscious literature, as her diaries make clear, and the reference to unspecified book in them, but whatever. Paludes is a work of art requires for its inaccuracy, closed by its opening, its intolerable timeless modernity. Full of resounding phrases and thoughts notables (look at the fabulous image over time in the "dilemma" final), is the book you should read all learners writers to avoid wasting time in the beginning unconsciously imitating the inimitable. The translation of Cecilia Yepes is tight and accurate, though it could have been more courageous trying to play the rhythm octosyllabic Page 75, to keep the satirical tone of the original. There is a fall, as in all the books that open doors to all who come after. The rest is sky.

[Relationship with the authors: with foreigners, none; with Moga Krmpotic and I have had correspondence sent or read books. Relationship with publishers: no]

.

Alabama Football Gifs

Questions about four hours (II). M4v

Airtel Service Blue Printing

Day work: negotiation or coercion? Win

continue to respond to Hans Rothgiesser about the journey of four hours.
says Hans (and this seems to be the central disagreement with me, since we started this discussion) that agrees with the reduced hours, but that such a thing should happen as a result of "a process of negotiation", it will not be easy, but it is preferable to a strike. Dice that if we want to strike, the employer will say: "puff, with the technology that is now no longer need you" (not, but let's assume that it is).
Well, we follow the reasoning of Hans and we will negotiate. At the door of negotiation, our correspondent says: "There are two types of entrepreneurs: heartless and conscience. With the thugs can not be negotiated, and we can only do so with others (those who are employed by employers heartless folks are discarded along with their employers, without having had occasion to say a peep.) But no matter, follow the path of good Hans. Negotiate with the employer responsible, suppose man agrees to reduce the day.
What happens here? Very simple: our good employer loses immediately competitiveness over other companies vying for the same market as yours. Why lose competitivdad? Because their costs go up, obviously. Is headed for bankruptcy, for trying to act like good in a system that is not made for that.
Here comes the interesting part, because a reduction in the day, as we have seen, practiced unilaterally by an employer (or a country), would lead to bankruptcy, the same reduction, say, if instituted universally, yes get the goal and Hans I agree (yconste reiterates that agree) to search. I would get it because, being of universal application, this will prevent the "heartless businessmen, who do not accept the reduction, take advantage, unfairly, loss of competitiveness that employers" know "have been to accept they do, the reduced hours.

This is how the working day, or applied universally, or fails. That's why the 35 hours, applied for years in France, has been on the floor, and, recently, the European Community authorized days 60 and up to 65 hours per week . They have done so because they could not bear the loss of competitiveness to competition from Asian countries that, far from reducing the working day, lasted up to twelve or more hours. This is what is called "race to the bottom " (race to the bottom) are competing to see who gets further degrade labor standards.
So, if we set the reduction of the day, though it be through negotiation, we must do so universal. International negotiations, in an international forum also.
I see no other way to get to a negotiation of that level through international strike, that would put the item on the agenda. I can guarantee that if we go to a global strike (completely peaceful and democratic, of course), in a very short time we will be negotiating (as Hans wanted) with reduced business day. As I say in the book (which Hans has no excuse for not reading, because we have an exchange), I propose a deal to cut half an hour each month for eight months, up to four hours. Then, every ten years, will measure the increase in productivity for further reductions.
The issue of whether there are four hours or five hours (five and three quarters, my dear, is a disfuerzo), touch it later, but insist that is not important. If we start now with five, ten years we will have four. All roads lead to Rome.

Pir Motion Sensor Circuit Diagram

CARACAS in two

Tanning And Waxing Games Free Online

Extreme Sports

Hi I'm Scorpio

I like movies of the 60

and running in the rain so I will not attack you.

When Was Vicodin Invented

what occurs: the dilemma of hell.

The third observation made by Hans Rothgiesser addresses the issue of surplus or, in other words, goodwill. He says if we argue that the worker does not get everything it produces, and that the capitalist is left with one hand, that the the "roll Marxist" and the thing is going to be heavy.
I can not accept the argument that "the Marxist roll does not apply here." In fact, it is not argument, is a priori disqualification. I could respond by disqualifying "roll Austrian school "(which appears to allow Hans), saying it is the neoliberal fundamentalism, or whatever. That road is not going anywhere.
Since 1997 John Cassidy, in a famous article published in New Yorker, Marx proposed as the thinker of the millennium, and soon after, in a BBC poll , public vote decreed same, and it is difficult to argue that "the Marxist roll does not apply." On the contrary, there is growing consensus that Marx's analysis of capitalism is essential to understand the current economy.
But I reassure Hans (and, incidentally, the readers): I will not argue here and now on the theory of surplus value. It is not necessary to do so, we address the question differently.
What I say is somewhat simpler, and I say in the video . When a worker goes to use a more modern and faster machines, and thereby increases productivity, where does this increase productivity? Does shared equally between employer and employee? The seamstress nustro
example, when going to produce sixteen poles a day instead of eight, do you receive adequate compensation for the increase in production?
Before you answer, keep in mind that it would be perfectly possible that, having doubled production, also doubling wages and company profits. The worker would receive a salary equivalent to the sale of eight poles, instead of four. And the company anticipated a gain equivalent also to eight instead of four. Both parties, employee and company, would gain.
Now the question is whether this actually happens, and I was quite obviously not.
When my designer productivity fourfold (in fact, up to fivefold, presumably), in the nineties, my salary increased, it is true, but not nearly quadrupled (even doubled).
you, friend us now reads, make the same argument about his work, and probably find the same thing happens.

When incorporated in this great technological revolution we are living, more and more technical improvements to our work, it is normal that the productivity gains they bring to the benefit of the company, while our wages, if we're lucky, get a 10 or 20%, and if we do not have nothing. This is how things happen, and knows that anyone who works for wages. Not even occur to us to demand that the company that increases in proportion to productivity. In summary, not receive all the product of our work .
This is, in short, the answer to the question asked Hans about whether the worker must earn everything it produces. It should, but do not earn that, far from it.
It is, therefore, a surplus, to be in the form of capital aculmulando. And it is on the other hand, a problem, because that way we, as we have seen (and we see in the video ) to the layoffs, which occurs when, having increased productivity, it turns out to produce the same should be fewer workers than before, and the rest should be thrown out.
And that is precisely the other argument to meet Hans. For if the workers win everything they produce, and when production increases were proportionally increased wages, then, as Keynes would say, increase their consumption, and dismissal should not occur. But if they do occur. And the fact is that unemployment is permanent ("structural" to use the euphemism in vogue).
The existence of unemployment is further proof that not everything that is consumed is produced.
And to show that we have not had to use, even for a moment, the dreaded "roll of goodwill", but common sense and experience of each.

How 13 Year Old Master Bat

Questions about 4 hours (new video)

interview
Marco Aurelio Denegri Carlin on "Manifesto of the century" and the four-hour day (December 2006).

Spanish Condolences Phrases

.
Yes, yes, I confess: I read the latest issue of the journal Chimera, 322 for the month of September from the first line to last, through 22 aliases and several real names have been left for me to usurp. Then tell you more about what, but I think we should start thinking about why I did it.


Why

What is the purpose, task, in order to be moved to a writer of our time? What should or-more-in which may consist of the literary work in our environment and yet at the dawn of a new century? To me that an author ask these questions or are not do is nuclear as a sign of artistic responsibility and, usually, their literature is often part of the implicit or explicit answer to both questions. Responses that can be diverse and even, and without leaving valuable works contradictory. An author has the right to say that the task of literature in our time must be deepening concern about the language, another that his mission is to account for the social problems that beset us and anxious and another, possibly the reason for be embodied in a pleasant work but do not dodge questions transcendental and reflective, and another may point to a further set of immutable esthetic values \u200b\u200bimmanent, and yet there may be authors who hold that art in general and literature in particular tend to be a question for the human condition or the search for meaning. In my case, by day or by the work, I believe that literature is or can be all those things. And I also believe that writing can also be presented as a way of intervening in reality, to question our world and our thinking writers or artists. Literature, like Arnold said speaking of poetry, can be a critical life , and also a criticism of criticism, and artistic experience of life. Between these two parameters, as a way to analyze our literary system and its forms reception and legitimation, but also and at the same time, as an active way to participate in the artistic process with a gesture that goes beyond the writing itself, there, swimming in two waters, is where the intention is to me led to write an entire magazine known and respected in our publishing world, with many years of experience behind him and work. Doing it in a small magazine size was not infringing, deliberating, questioning, which provides a magazine located in the center of a literary system. It responds to my old intention of making literature in all those places that are possible using the effect any existing formats. Damian

Tabarovsky wrote in the number of Chimera before my accident, "I know that the question of the mechanisms of legitimacy of literature should be the basis of all literature. It is a question that lies with the writers and not only to sociologists " [1] . Failed summer reading this issue until after the September released by living outside Spain, and I find meaningful and happy now that the purpose of fictitious numbers were contained in the above, especially considering that the very Tabarovsky was allowed to write for me and authorized to make me go through it, showing that when he thinks that one must ask the mechanisms of legitimacy in literature (and the author ', as he well knows, is one of the most powerful) is the question not only the theory but with practice, consistent and coherent approach.

The role of literature in our time is a difficult role, a role now in danger of collapsing even as paper, to encrypt your stay in signs converted into pixels. Literature, this has already been said, has endowed numerous competitors that leave more and more isolated in our leisure and thought and still think seriously, this has been the least if the blame for their postponement is due to external threat or internal weakness. Felix de Azua explains in his superb autobiography lifeless how literature of the nineteenth century is set in part as a reflection on itself after the romantic turmoil and how the novel of the twentieth century can be explained in his best part as the search through the prose of the power of words left for poetry. We can argue until the cows from the drying Azúa ideas, but not undeniable that underlies them: the great books of both eras were looking for something. What to look for literature 21, that is the question. The number 322, Chimera is my own answer to the question.


What

This is not the first time something like this is done, not even the first time that I do. While studying law in Cordoba, my friend Francisco and I elaborábamos completely or almost completely student magazine retaliation, inventing various characters and pseudonyms to fill each issue. Without knowing the above, before we had done something similar the critic José Luis García Martín in his college literary magazine, probably relying on literary Brochures Leopoldo Alas prepared entirely under their pseudonym usual, Clarín, since 1886 and for many years. Karl Kraus was also his personal publishing for years, though, I believe, signed on his behalf. In this case, the number 322, Chimera has the distinction of being a general review known national and international circulation, so that the dimensions of the "intervention" are different than in a university publication.

The idea came to me in October 2009 and moved with little hope of success, the supposed madness, to the then three directors of Chimera, who picked her up, to my surprise and enthusiasm. Following the departure of Jorge Carrion, Joan Trejo of the magazine two months later, continued the project with Jaime Rodriguez Z., the current director, a patient who has been complicit in all this huge deception, which we have kept secret until the end, even to close associates of the publication. I must say that whatever the value that this number is transgressive, it would have been impossible if the magazine and its directors had not supported the operation, so Chimera becomes, thanks to his gesture, the only critical review and also self of English literature.

The process has been slow: many years of data collection of cases and issues before, seven months after long and patient write the number, of all sections. Numerous style imitation exercises for the permanent sections of cooperation, signed also by names and established his own style: Sierra Germain, Germain Tabarovsky, Manuel Vilas, Agustín Fernández Mallo: thanks for all of them left voluntarily usurped by this document forger and ghost. Months to imagine collaborators, aliases, each with its characteristic style, each with their mini-biographies. Months of shooting equivocal or ambiguous. Months of inventing assumptions books, writing poems for realistic-looking poems of false sentences to novels have credibility, in a staggering process where I had to invent non-existent critical writing and also reviewed the fictional writer. Months to engineer dozens of arguments, frame, ideas and statements apocryphal, forgers translation of chimeric editorial, obituaries incredible. Months to embody philosophers, writers, aesthetes, specialized teachers such as strawberries or other entanglements Bellatin, biographers, critics venal. Months of counting characters and thinking about the phenomena of hoax and deception literary reading many authors, to justify the different ideas of different personae the Greek sense of the word, mask using. Months of learning. Months of fun. Months back to a sense of writing as vertigo, and jump without a net, as a way to empty without concern for the path back. Months of absolute creative freedom. Unforgettable months.

In the "Interview minimal" in the October issue will tell you more. Here conclude by saying that from this moment, a book entitled 322 Chimera will be added to my bibliographical note, because for me what is published is more than one copy or journal issue for me is an essay rather organic or inorganic on the literary forgery, done since publishing a falsehood, so that is configured as a metafalsificación. A half-year literary and performative means, is perhaps the only decent thing I've written in my life.


[If anyone is interested, you can request a copy from Chimera through its website, http://www.revistaquimera.com/detalleRevista.php?idRevista=49 ]

[1] Damian Tabarovsky, "Sociology of Literature," Chimera No. 320-21, July-August 2010, p. 10.

2010 Desktop Configurations

What a worker must earn (answer to the second point Rothguiesser)

The second observation Hans Rothguiesser refers to how a worker must earn. Hans requires us to define whether we think that a worker must earn only what you need to live, or should earn what they produce (in which case, is expected to produce only enough to live, or if it produces more than that, the better for him .)
seems that if we say that a worker must earn what they need to live, that would be consistent with the idea of \u200b\u200blimiting the working time. Once obtained what they need to live, the employee should not continue working but go home to rest and leisure.

To say, however, that the worker must earn it produces, it appears that this response does not support the limitation of working time. If you want to work harder, because you want to earn more, not he be prevented from prolonging their working hours as far as he pleases.
But in reality, lacking any other questions we can draw from this dichotomy:
1) When the worker earns all it produces, and when you give back only part of what is produced, leaving the company Moreover, in the form of profit?
2) What happens to the worker who does not win as they occur, but is paid a fixed wage or salary? Does this worker earns more, the more work? No way. The more work that person receives the same pay and, obviously, the rest is as a utility company.

questions relate to the work day. Let's see:
1) When there are technological advances that enable leaps in productivity (as is the case with the current information revolution), which means workers spend to produce much more than before, did they pay increases proportion to the increased production (as in fact they are not reducing the time work, which is another way to offset the increase in productivity), so that as you Hans, continue to "gain what they produce, and do not go to win, in fact surreptitiously, fewer than occur?
2) If, as in the case of the production, which showed in the video , increasing productivity turns to the utility company and not to the worker, the chances are that sooner or later, that productivity growth translates into layoffs. And on the other hand, the same increase in productivity is also reflected in an increase in the organic composition of capital, as consecuncia which, in turn, tends to falling rate of profit (ie, a worsening of the crisis).

raised the issue in this way, it is then that the reduction of working hours is linked to the issue of accumulation of surplus production. If workers really earn everything they produce, there would be no such accumulation of surplus and why would not reduce the working day, except, of course, when each worker individually and freely choose to work less, because it comes in wins. Let

then the issue of surpluses, but this is where Rothgueisser says "roll Marxist" is not acceptable. Admissible or not, we must address the issue because it depends everything.
But that does not deal later.

Free Hairdressing Leaflets

Why four hours? (Response to "A Thousand Demons)

As Hans Rothgiesser (and incidentally, The Walrus), many wonder why we have chosen to propose the four-hour days, not five, or three, or otherwise.
The question is relevant, though, I must say, is not as important as it seems.
not so important, because what we are proposing, regardless of whether they are now four, three or five hours, is an agreement to reduce progresva of the day, in proportion to the increase in productivity. If today the establishment of the four-hour day, it is likely that within ten or fifteen years, when measuring the increase productivity occurred between now and then, it will set up the three-hour journey. And after thirty years, two hours. So, although today we started to work six hours, sooner or later will work four, and later two, and later (and not us but our children or grandchildren), a. And so on.
So the discussion on why four hours is, in fact, a discussion from where we started walking, but still agree that, however, come to the same place.
Why start by four hours?
First, to recover, even in part, the huge backlog that has accumulated in ninety years since it was established eight-hour day. Since then, productivity, as we say in the video, has increased about 600%, and the day, far from diminishing, has been extended (ie over the last twenty years) to twelve or fourteen hours.

Second, establish, for example, six hours as they tried to do in Europe (the 35-hour workweek in France amounted to about six hours a day), has the problem that much of this reduction may be absorbed by the elasticity in performance (it has been found that reducing the time at one hour, for example, people tend to work faster, and ends up producing in seven hours what previously occurred in eight). Because of this flexibility in performance, six hours may not have a major impact in creating new jobs, which is a key objective of our proposal. Instead, four hours would ensure that the impact on unemployment is strong. We could achieve in a short time, nothing less than full employment worldwide!. Keep in mind that full employment worldwide (something that until now seems a distant dream) means, at least, the beginning of the end of poverty in the world.
Seeing the staggering numbers of increased productivity, we could propose the two-hour journey, it is true. The day four is a more prudent goal for now. Avoid a jump that can be traumatic. Even suggest, (and this explains the book) that are located within four hours, in turn, progressively: reduction half hour each month, until, eight months to the day of four hours. This form is intended to prevent gradual, as I said, any traumatic effect on the market.
Third, do not forget that back in 1932, Bertrand Russell proposed four-hour day. We are picking up, eighty years later, something that the wise and considered possible at the time. With much more reason today!
In summary, four hours is a number that allows projecting a scenario of full employment and, from this new situation, further reduce the journey time to time, and not only to eliminate unemployment and poverty (which will already have gotten), but to free human beings to conquer time free, to stop being slaves to work, to get the economy to our service, instead of being enslaved by it. Copntinuaremos
responding to other comments as hell later.

Can Migrate Pokemon To Soulsilver Version

The passage between Clara and Exhumation Electronics

dj The mass as a choreographer

The Catalan writer Jo Alexander with only 19 published a novel called Strange creatures (Grijalbo Mondadori, 1998). I do not remember much about the novel, to be fair: I found a work too hasty, and that she said when he published his second book, thirteen years later, he was full of errors. However, Strange Creatures had some sociological values, say that since the early novels of Bret Easton Ellis, very well read some of his time environments. In the case of Alexander the atmosphere was that of nightclubs, describing exactly how the DJ or DJs became a kind of guru of the night and the driver of the other, to guide the movement of the huddled masses for fun in the rhythm of it . A kind of musical Petronio was to fashion a song, or alter or create a new sample pieces of others. The dj presented as a choreographer, as pastor of mass dance frantically, but without leaving the same space: the square meter of space for dancing. The club as a meeting place, with its rites of incorporation, and stay out: "I was already forty-odd blocks, and once inside, saw how people looked at me rather badly, as in other clubs in Madrid, my eyes filled her with respect "(Miqui Otero, Music channels; Alpha Decay, Barcelona, \u200b\u200b2010, p. 233 .) The pubs and nightclubs as locations in which, as noted earlier in another novel Pedro Maestre sociological Killing dinosaurs with slingshots (Destination, Barcelona, \u200b\u200b1996), simultaneously share their leisure time people from two and up three different generations, but not obvious demarcations.



the nightclub scene in Open Your Eyes Amenabar

http://www.youtube.com/watch?v=Ujngooxc2x4


Life daytime, nightlife

This year there have been two short novels focused or localized in a similar environment, different not only Strange creatures but also very different from each other, despite being young its three authors: Electronics Clara (Language of Cloth, Madrid, 2010), Guillermo Aguirre, and Exhumation (Alpha Decay , Barcelona, \u200b\u200b2010), written by the so far only literary critic Antonio J. Rodriguez and poet Miguel Luna. In both you can attend to the "Wars between Hades and Eros. Among the Living Dead by the Music Club and the militia defending the old values \u200b\u200bof Humanism "(Exhumation , p. 7), because it sees a tension between the vampire enjoy the night life, in novels characterized by debauchery and drug use to avoid reality, and the day world and humanist literature as a way to recreate reality, or to delve into it. Both works are in a dialectical tension between time and hobby, aesthetic enjoyment and the enjoyment body, depth and surface, "Darling, can not remain deep without a surface" (Exhumation , p. 15); "surface to surface is that something the cover: it is now back (Clara Electronics, p. 64). I imagine that the dispute is identical to that faced by the authors, who reconciled his humanistic side of the still young age of spinning, while gaining speed and escape. In any case, this contradiction visible on the characters of both novels is not very different from modern man suffers, at least if we consider the definition of Daniel Bell productive individual, "the commercial corporation needs a hard working individual, pursue a career, accept delayed gratification-that is, in the sense more crude, an organization man. And yet, in its products and in advertising, the corporation promotes pleasure, instant enjoyment, relaxation and letting go. One must be straight during the day and night thrombus " [1] . In the same sense Bell, Lipovetsky writes: "the hyper-hyper appears accompanied by a pronounced, legislator himself, sometimes cautious and calculating, sometimes messy, unbalanced and chaotic " [2] . Combining these theoretical appointments with the content of the novels, which we would do in that they both reflect on the economic condition of the characters and their relationship to leisure (in Electronics Clara is sometimes appeals to nature "junk" in the employment contracts of the players and the Exhumation myth of "job satisfaction", p. 14), we can infer that the clubs would also be the place where social status flaunts reached (the reserved VIP, which is referred to in Exhumation), or where it is neutralized aggression generated by non-fulfillment through the trance dance and lysergic evasion. Yes, there are also people who going to clubs to have fun in their leisure time, of course, but here we talk about real life but its concrete recreation of two novels, and both can be seen that the diurnal occlusion in pure entropy, as well as an insistent tendency of characters to rush the night, carpe noctem enjoy (Aurora Luque dixit) to the end ( households Clara Electronics are "aftercasas") and so I dare say that has some sociological excess in the two novels, and calls for a total mode hopelessness or absolute emptiness of the characters who are trying to fill, unsuccessfully, by the experience of love.

Three other common elements with the two novels: Madrid as a narrative, metaliterature and electronic music.



Madrid

The two novels are moving operations out over Madrid as a narrative. Antonio J. Rodriguez, one of the authors of Exhumation , dedicated in a recent issue of Chimera an article to the narrative visions of the English capital, an article which unfortunately I have to hand at the time of writing. Exhumation In the process of filing Madrid aims to produce estrangement distinguishing between one part of Madrid, the center, and others. In any case, almost post-apocalyptic vision "on both sides of the highway, the soil viscous tectonic earthquakes. Caravans, trucks, aircraft Trojan crowd at the gates of Madrizentro, immobilized for hours, reluctant to leave the storm from the bunker "(p. 55). We assume that in this case we will reflect on the urban landscape destabilization and excessive reigning in "expressive face," the nightclub in which it conducts most of the action, joining the internal entropy which we referred above.

Clara In Electronics literary reorganization of the city is deeper, and keep a direct parallel with the psyche of the characters. Guillermo Aguirre Madrid imagines as an archipelago, an idea is not new ("geography of Madrid is a cosmogony, a galaxy of several solar systems have in common is their synchronous movement and unidirectional. Madrid is not enlarged, just open new compartments. [...] Barcelona is an island. Madrid an archipelago "VLM, Circular, 2003), although it is true that no one has taken to its logical conclusion so as Aguirre. In his novel the capital's neighborhoods are islands, beaches or along the avenues, streets channels motor bikes and perhaps at any time the purpose is to reflect what is separation and isolation of any city organization in general and Madrid in particular: "the sun stirs, gets the wood of the buildings that fall sporadically or burn by spontaneous combustion. Their capitals, igneous, become emblems of legend. Changed again posters, advertise new shows, new colors, elections, local rename again on Thursday one another on Friday, Saturday another: change of islands. The city extends well on its archipelago "(p. 38). As noted earlier, this relocation is parallel to the long-suffering by the characters. While living together for much of the novel, Clara and his roommates seem separated by insurmountable walls that make islands with respect to each other. The protagonist's emotional autism and Jonah absolute solitary confinement, the homodiegetic narrator of the novel, is a perfect transcript of the insular and dumb condition of psychologies and emotional stakes. Quite the opposite of Exhumation , where is the search for affection between Amanda and Djuna that moves all the springs narrative of the plot, and actually moving the sociopathic curious device, machine, solipsistic and longing for affection Djuna . Exhumation is a stranger intersection Mood for Love (2000) by Wong Kar Wai and Revenge of the zombies (1943) by Steve Sekely.



metaliterature

"Do not you think it would be time to recover the story in contemporary English fiction, instead of semiotics and much much host?" [3] ( Exhumation , p. 49).

"What happens when a component goes later in the narrative action? What, when salt is poured on the plate at the wrong time when, within the harmony of the subject, includes nearly the Finally, a new element in flight or counterpoint? I feel that the reader, the diner, the listener will wonder set architecture, feel the risk that everything is broken (...) or, on the contrary, history is strengthened "(C Electronics lara p. 118).





electronic music the two novels in the presence of electronic music is important. In Exhumation is defined as a "hymn psychotic" (p. 35), something not addressed to thrill but to move: "I remember when you were little you thought electronic music created by the devil. I was afraid. Now it all comes back to rumble. As a Mills Bomb arsenal on the ground "(p. 40). The group or mass of the dancers executed their choreography, directed by dj and governed by the strangeness of the beholder from the outside without being integrated into the ritual: "make strange movements with his arms all at the same time, with expression as slowly and as if it were a ritual: a new dance terrible and haunted. The music sounds fuzzy geometric emerge (Exhumation , p. 44). That is, should be allowed to be in part one to be part of the trance, it is no coincidence that the owner of the club say ruthlessly: "Here we are not human, we want drum machines." (Exhumation , p. 38), clarifying that the end is desindividualizante and depersonalized, mechanical. Exhumation back into raw governing vision or theoretical, sociological, on the narrative: they describe the phenomena, but are not embody. The characters are not just drum machines, machines are also text. This is not a demerit, but a rhetorical choice that the reader should keep in mind.

While electronics Exhumation is external to the narrative, as the structural epilepsy must be sought, as we shall see, not only in music but also narrative models in Electronics Clara is internal, associated stylistically it from the book's title. A thinking invites not only the explicit wording of Stockhausen with which the novel opens, but some telltale central paragraph: "as the different sounds come into the session, as do the basic narrative elements of fiction that Just as people leave and return as a needle into the fabric of life "( Electronics Clara, p. 149). The words are the electronic sound (the computer, the printer to put on the page), and "the silence that space between percussion and hit another, "(p. 54). Again the words as noise on the page, the silence as white space, Mallarmean, in a more modern survival today. But all is not metaliterature also describes the rites of electronic music in a curiously late modern, cheeky postmodernism against Miguel and Rodriguez, "there was something called rush. The music suddenly rose, were added rhythms and added bases, the elements of the electronic session (recorded sounds, added frills, samplers, repetitions, percussion hits) sounded together, the orchestra total at the same moment "(p. 101). This description of Aguirre is closer to, say, the delicate and accurate representation of music by Thomas Mann in The Magic Mountain (1924) that the reconstruction of techno experience in the early years of 21. Syncopated prose Miguel and Rodriguez is somewhat closer to the object described but in any case, are stylistic choices and every one, I imagine, may find its readers. However, although neither has the geometric style narratives and arithmetically growing dance music, Clara Electronics does take it at least the elements outlined by layers or strata, the consideration of the text as a sonic fabric where the elements are mixed and give way (to what helps the fragmentation of the text), so that the minimum unit of text would not be lexia, but the chord: the moment when several notes (narrative elements) sound at the same time at a particular point of the text.



Exhumation References

Built as a social generational novel strategies, Exhumation includes several references to contemporary American fiction, particularly David Foster Wallace, the author confessed passion: the image "animal expressive" (P. 64) clearly comes from the story "Critter expressionless" Wallace in his wonderful book of stories She weird hair, which has influenced authors also very much in Rodriguez and Miguel and Javier Calvo. There are also references to other narrator admired as much for Miguel Rodriguez, Patricio Pron, whose remarkable novel The early spring is engaged an obvious tribute: "He looked across at a German university professor ignored great time" (p. 45). Insistence


Electronics Clara

Despite its downfalls, Clara Electronics is a novel is read with interest. The author demonstrates an early mastery of the subtle, high art of the novel, and hides through the key psychological suggestions of the figure of Clara, related to the topic of doppleganger. Hesitation corny, as we shall see, some precipitation and the use of stereotypes when building characters should not obscure the fact that there is narrative drive in the novel, and certainly high points as the rotunda page 71 encourage us to think that there a talented storyteller maturity and crouched waiting time, other fundamental requirements of any work of fiction (with very few exceptions). Conclusion



Noting that there are two novels about excess, in both books come when errors appear overly exuberant. Not too much talk here about the life of the characters, but imbalances of another sort: pedants in Exhumation excesses of pure free Anarres - "nothing to do with the apprehension of the Other in Levinas, think", p. 29 -; rhetorical excesses Electronics Clara - "I heard the metal mobile sonar Violeta bells (bells dream)", p. 108 -, or excesses low referential humor in both (a photographer named Diana Bush, by Diane Arbus, in Exhumation , a newspaper called Arganzuela Zeitung in Electronics Clara). They are natural errors in first novels by very young (no more than 26 years), where the effort to demonstrate craft and sometimes kills power clean style or the needs of the plot. However, despite the clichés, dead zones and excess errors of his novels, this is the first and original works of three authors to track should be on, since in these narratives peek lines force that can give good results in the future.

.

.

Notes:
[1] Daniel Bell, The Cultural Contradictions of Capitalism, Basic Books, NY 1976, pp. 71-72, quoted in Matei Calinescu, Five Faces of modernity, Tecnos, Madrid, 1991, p. 18.
[2] G. Lipovetsky, "Time versus time or hypermodern society," in Gilles Lipovetsky and Sebastien Charles, hypermodern times, Anagram, Barcelona, \u200b\u200b2006, p. 58.
[3] Of course, this is an ironic statement of the authors, because there are few current novels as Exhumation where the theory has submerged almost entirely to the story.

[Relationship with the authors reviewed, with Guillermo Aguirre, None; with Antonio J. Rodriguez and Miguel Luna, cordial. Relationship with publishers of books reviewed: none]

Wagener Granulomatosis

Brea

I will not elaborate. As is visible just above, this blog has a quote from "head" of José Luis Brea. Often, when asked about that quote, I had to clarify that Brea was not for me an ascendant masterful, but a notable aesthetic thinker who occasionally enjoyed tunes. Tuning is a polysemous word that Brea, I think, liked a lot. For it was common sudden illuminations, synchronicities, which are still out of the detectable but precious to what we are and who we are, knowing that we are, or should be, too other in the name of "radical alterity" who presided over his thinking until the end. Write final Brea because we left on Wednesday.

When I read this quote from Brea sudden I felt a kinship, not me, but so alters with the spirit of this blog, which is proposed in order to critique live of our time. The it was, however, a criticism timeless, rarely set in a bright Uchronics. For this reason there are many who have talked of premonition to see that your last text http://salonkritik.net was entitled " The Last Days . " Well, actually was a 1992 text, which could read things like this, which also tune "inversion of two fictions abstract, theological-political: the end of history and this in recent days . In both symptom and awareness makes the terminal condition of a culture that knows its failure in terms of inability to fully represent the sense or viability of a project subject emancipated, made in a dignified way of living socially. Awareness of the failure of humanism, it is called, with its more painful name-this certainly concerns us irreversibly dark. " His placement as last text and reference to the texts that Benjamin, like lightning, begin to be heard long after it was spotted, it may not be casual, do not know. But his writing Uchronics, its strange syntax, his criticism timeless, it has a 1992 text of Brea may be true today, just a text of his last great book, The 3 eras image (Akal, 2010), perhaps could have been read and understood in 1992.

All silent voice that plunges us into a terrible silence, but some also generates a reverberation further, like the poem by Blas de Otero: "His silence, reverberating." Now we have to continue listening to the deafening silence of the texts.

.

.

How Much Would A Taxi Cost For 43 Miles

New Response to Mil Demonios

thank Hans Rothgiesser (I hope I have written well) the attention given to this subject, object of my sleepless nights for years.
I've seen the video of Matt Ridley I loved, I have no objection. I think Marx would subscribe smoothly. Just read the Communist Manifesto to see Marx's fascination with the technological progress achieved under capitalism, thanks to constant innovation, exchange, Mecado, etc. Hans
suggest the friend who takes the trouble to read my book "Manifesto of the century" , to have a better idea of \u200b\u200bmy approach and information and the literature supporting it. So maybe we can save some explanations.
By the way, be encouraged also to read "Talking Old" , my conversations with the ghost Marx. Hans is clear and entertaining writing, so I guess I like things clear and entertaining read, and I think that book will not disappoint. We
main argument now Hans exposes us this time. What it says is that while today we have a much higher productivity than 80 years ago (when Keynes lived), we also have much greater needs. True, he says, that if our needs were the same as before, we should work less. The issue is that today consume a lot, but much more, so keep working the same or even more.
is true that today consume a lot more things than before. Some things time were unnecessary, have become indispensable today (internet is one of them, perhaps the most notable).
Let the example of electricity. Keynes had to work eight seconds to get an hour of electricity. This means that, for 8 hours a day working 64 seconds (just over a minute).
The English worker today, according to knowledgeable Ridley, you have to work 4 seconds to get eight hours of electricity. Beware: the difference is seven and a half seconds, but sixteen times less!. That is the correct way to express the productivity gap. In a day has not saved 7 seconds and a half, but 60 seconds.

Now the question is how many hours of daily electricity needs today that worker 'English. Probably, considering that today is much more electric than Keynes did, you need many more hours of electricity too. Okay, but the problem is how much more? Therein lies the whole question. Because if needed, for example, 16 hours, would have to work ... 8 seconds (much less, of course, that the 64 seconds of Keynes). Suddenly is even more suddenly is 24 hours, in which case you would ... 12 seconds. Let us most demanding needs 36 hours of light. In this case we have to work to get them ... 16 seconds! What remains less, but much less than what I had to work the poor of Keynes.
Why, then, tell you to keep working well?
How does the friend Hans that, if I work eight hours a day, with a productivist) d six times greater than that which existed during the years of Keynes (that figure I quote in the video , is because we consume six times more then?
How do we know that we are consuming all that we are producing, and not much surplus production will be the others are running?
Sorry, but when it comes to my life my work of my time, I have to get demanding, and I can not stay calm that I say, "ah, now muuucho produce more than before, but looooong consume more, so you have to work the same."
If the proportions are like electricity, I think that the figures did not add up. I do not think that even consuming more energy as we do today, and assuming that our increased productivity for the case of electric light is to 1,600% (sixteen times), in the case of the English worker, according to Ridley's own data , as further work is justified (and even less justified, by the way, you are working twelve hours today, instead eight in law).
worker not only English, of course, has increased its productivity. The workers have tode Europe, United States, Latin America and Asia, in similar proportions.
A simple way to convince us that we are not consuming everything we produce is to see if there is a surplus somewhere. If we are not consuming everything we produce, there must be a surplus, "and has to be somewhere!" I say, and rightly so.
Is not by chance that the surplus is in the billions of the huge capital that has accumulated and continues to accumulate in staggering proportions that were unimaginable in the world? If I work today
twelve hours, thus produce 9 or ten times more than a worker who worked eight hours ninety years ago. If the salary they pay me I can take four times longer than the worker of 90 years ago or six times more than him, do I have reason to be happy?
Yes and No!. Yes, because I'm better than this fellow before. but No, because even if I eat six times, me being extracted, but I have realized a surplus, which is the difference between six and nine. A surplus will swell the capital, if not, where do so fattening?
Not bad, indeed, there is saving and accumulation. Are required to reinvest in technological innovation, etc.. What is wrong is that surplus, so quiet, very well hidden, and advantage that we have not been good to get the accounts that we had to take to avoid being deceived, surplus, say, will all end up in the Capital coffers, without us having the right to enjoy them. And the best way to enjoy them, once met our current needs as extensive as they may be, is also resting, enjoying free time, that's what life is, alas, not to be slave labor.
We can not take time off, for the simple reason that the market system, with all the good that is to promote technological innovation, is incapable of reducing working hours, and historical experience, as well as the pathetic reality that today prevails in the world twelve hour day (for the overwhelming majority of humanity and not for some Japanese managers that one swallow does not make a summer), proves conclusively.
As also shown (historical experience), that the single most expeditious way to reduce the journey has been and is, the strike . The strike peaceful, democratic and civilized, but strike.
continue, I guess.

Fence Horizontal Slats Merbau

Enough

And I hate the cougar too.